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Evaluating Scotland's London 2012 Cultural Programme

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Evaluating Scotland's London 2012 Cultural Programme Evaluating Scotland’s London 2012 Cultural Programme www.uws.ac.uk Evaluating Scotland’s London 2012 Cultural Programme Professor David McGillivray & Professor Gayle McPherson School of Creative & Cultural Industries University of the West of Scotland, Paisley Campus www.uws.ac.uk Acknowledgements This report detailing the outcomes of Scotland’s London 2012 Cultural Programme would not have been possible without the collaboration of our consortium partners and others. We would like to thank Dr Beatriz Garcia, of Liverpool Institute of Cultural Capital (ICC) and her invaluable contribution to the overall project, particularly the media analysis carried out for the case studies. Tamsin Cox, of DHA Communication, also provided expertise in data analysis and in designing the outline monitoring and evaluation framework contained in Chapter 7 of this report and we are in debt to her for the hours spent reconciling datasets. Finally, Rachel Granger of Middlesex University brought her expertise in geo-mapping techniques to explore partnerships formed as an outcome of the funding of Scotland’s London 2012 Cultural Programme. Without the support of the 54 project leads from Scotland’s London’s 2012 Cultural Programme in Scotland, the staff of key strategic agencies, Event Scotland, Festivals Edinburgh, Scottish Government and Creative Scotland completing this evaluation would have been much more difficult. Special mentions to Sarah MacIntyre who facilitated access to a range of data sources, Leonie Bell for providing detailed context about the Programme and Alastair Evans for his professional approach to the contractor-client relationship and commitment to the production of a robust piece of research. 1 CONTENTS LIST 1 INTRODUCTION 5 Scotland’s London 2012 Cultural Programme: In brief 5 The study 6 The report 7 2 SCOTLAND’S LONDON 2012 CULTURAL PROGRAMME IN CONTEXT 8 London 2012 Cultural Olympiad 8 Creative Scotland’s London 2012 mandate 9 Leveraging funding 10 Defining the object of study and area of impact 10 3 COLLABORATION 15 Nurturing collaborations 15 Legacy for the cultural sector 21 Stronger international cultural networks 22 4 CELEBRATION 23 Inspiring programme, with the best of UK and international culture 23 New contexts, sites and settings 25 Culture being at the heart of the Games 27 5 PARTICIPATION 28 Larger, more engaged and new audiences 28 Broader and deeper engagement and participation 30 Body of creative work with lasting legacy 32 6 PROMOTION 34 Fresh, sophisticated and contemporary image of Scotland 34 Cultural regeneration and impact on creative industries 35 7 DEVELOPING AN OUTLINE MONITORING AND EVALUATION FRAMEWORK 38 Lessons in evaluating impact from London 2012 38 Defining the object of study and area of impact 41 Setting aims and objectives 42 Resourcing data collection and analysis 44 Impact areas, indicators and methodologies 46 Baseline impacts 46 Mid-level impacts 49 In-depth impacts 51 National/local trends 53 2 8 CONCLUSIONS AND RECOMMENDATIONS 55 Leadership and funding 55 London 2012 Impacts: From Collaboration to Celebration 56 Monitoring, evaluation and assessing impact 57 Recommendations for Glasgow 2014 Cultural Programme 57 APPENDIX 1: PROGRAMMES, PROJECTS AND ORGANISATIONS 59 APPENDIX 2: METHOD 68 APPENDIX 3: CASE STUDIES 73 NVA Speed of Light 73 Summer of Song 78 Unlimited 81 Get Scotland Dancing 86 Forest Pitch 90 3 LIST OF FIGURES AND TABLES Figure 1 ‘Other’ partners, by sector 16 Figure 2 New cultural partnerships - theatre sector 17 Figure 3 New cultural partnerships – dance sector 17 Figure 4 New cultural partnerships – urban projects 19 Figure 5 New other partnerships – urban projects 19 Figure 6 Continuation of project, by no. of projects 21 Figure 7 Likelihood of project taking place, by no. of projects 26 Figure 8 Proportion of projects using digital activity 27 Figure 9 Responding to Cultural Olympiad values, by no. of projects 28 Figure 10 Number of projects by targeted audience type 31 Figure 11 Number of projects by anticipated origin of audience 31 Figure 12 Benefits to beneficiaries, by no. of projects 33 Figure 13 Benefits to projects, by no. of projects 36 Table 1 Framing impact 13 Table 2 New partners, by sector 16 Table 3 New partners, by project location 18 Table 4 New partners, by spatial unit 20 Table 5 Public engagement by type 29 Table 6 Activities by type 31 Table 7 People involved in delivering activity 31 Table 8 Project outcomes monitored 39 Table 9 Techniques used to assess project outcomes 40 Table 10 Defining the object of study and area of impact 42 Table 11 Logic model 44 Table 12 Data collection and analysis 45 Table 13 Baseline impacts 47 Table 14 Mid-level impacts 50 Table 15 In-depth impacts 52 Table 16 National/local trends 54 Table 17 Strategic Interviewees 69 Table 18 Research symposium attendee list 70 4 1 INTRODUCTION Scotland’s London 2012 Cultural Programme: In brief 1.1 Scotland’s London 2012 Cultural Programme (hereafter ‘the Programme’) represents the national response to the London 2012 Cultural Olympiad and included over 50 projects and over 250 events across the length and breadth of the country in the summer of 2012. In Creative Scotland’s own description, ‘From Arthur’s Seat in Edinburgh to the remotest beach cove on the western Isle of Lewis and a UK wide film relay starting, and ending at Scotland’s most northerly islands, from under the gaze of Stirling Castle to the shores of the Firth of Forth, to the dense forests of Scotland’s southerly Borders and right to the heart of Glasgow’s inner city, Scotland’s London 2012 Cultural Programme has celebrated the rich diversity, quality and accessibility of Scotland’s world-class culture’ (CS, press release, September 2012). 1.2 The Programme was the culmination of the UK-wide Cultural Olympiad in Scotland, but it was only one component of a much wider programme of funding for cultural events and activities, which took place across the UK. It included projects that were presented under the umbrella of the Cultural Olympiad, the London 2012 Festival and through other London 2012 funding routes, such as those made by Legacy Trust UK. 1.3 The Programme began on 7 June 2012 with the arrival of the Olympic Summer of Song. The film, Keep Her Lit, by artist, Roderick Buchanan chronicled the arrival of the Olympic Flame as it was welcomed in Scottish communities with a song. 1.4 Scotland’s landscapes became the focus as artists used extraordinary places as their canvases, most notably with Peace Camp, Tall Tales from the Riverbank, Speed of Light, Forest Pitch and Sea Change 2012 using river, canals, mountains, coasts and forests as their venues. 1.5 During the summer of 2012, Scottish audiences had the opportunity to experience, and participate in, a new, large scale, participatory dance event at Glasgow’s Barrowland Ballroom by Michael Clark, the iconic Scottish dancer and choreographer. The Barrowlands Project featured forty-five local people as performers alongside Michael Clark company dancers. From all walks of life, aged between 18 and 80 years old and with no previous professional dance experience, community participants shared their stories of this communal dance experience. The Barrowlands Project was part of the wider Get Scotland Dancing initiative which will continue on to the Glasgow Commonwealth Games in 2014. 1.6 Geographically dispersed, A Hansel of Film, was a relay of screenings of short films made by the public in each of the nations and many of the regions of the UK. Launched in Shetland on 10 June with the arrival of the Olympic Torch in the Isles, the films were then relayed between participating venues by ‘runners’ who employed whatever means of transport they could devise to get them to the right venue on time. The project took films made by Shetlanders and others to twenty-one venues around the country and forms a celebration of ‘home made’ short films. 1.7 The Unlimited project celebrated arts and culture by deaf and disabled artists, featuring new work by five Scottish choreographers. It encouraged collaborations and partnerships between disability arts organisations, disabled artists, producers, and mainstream organisations, to celebrate the inspiration of the Olympic and Paralympic Games through the creation of original and exciting works. These works were presented at locations across Scotland before being showcased at the Southbank Centre in London towards the end of the London 2012 Festival in September 2012. 5 1.8 Sistema’s Big Concert featured a full performance by the Venezuelan orchestra with a special guest appearance by Stirling’s own Big Noise Orchestra. The outdoor orchestra marked the opening of the London 2012 Festival and created a unique celebration of social hope and artistic beauty. The orchestra was also shown on live sites and on BBC4. 1.9 In September 2012, Scotland’s bandstands came alive with music as part of the biggest community event of the London 2012 Festival closing celebrations, Bandstand Marathon. 1.10 Cultural awareness and intercultural dialogue was the main focus of the project Curious. It was an innovative project, part of the Legacy Trust UK (LTUK) and Creative Scotland-funded Scottish Project that celebrated the diverse populations of Glasgow and included a community-led exhibition, adult learning programme, schools programme and exhibition. The study 1.11 A University of the West of Scotland (UWS)-led consortium was commissioned in July 2012 to provide a process and outcome evaluation of Scotland’s London 2012 Cultural Programme. The specific objectives of the evaluation were to: Ǧconduct a mapping exercise to identify existing activities already being monitored and /or evaluated and partnerships formed (tender requirement number 1, Chapters 4 and 7) ǦƽǩȝƽȝƽȞƽȟƽȠƽȡʮȢǪ Ǧaluate the impact of London 2012 on cultural and wider sectors (tender requirement number 4, Chapters 3-6) ǦǩȞƽȢǪ Ǧuce five case studies illustrating London 2012 activity in Scotland (Appendix 3) Although the Programme drew on wider Cultural Olympiad programmes and initiatives funded across the four-year Olympiad, this evaluation focuses predominantly on the London 2012 Festival period, from June to September 2012.
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